Dandanata: Representation of the Socio-Cultural Life of the people of Western Odisha through Performing Art. by Minaketan Bag [a] & Madan Biswal [b]

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1 Dandanata: Representation of the Socio-Cultural Life of the people of Western Odisha through Performing Art. by Minaketan Bag [a] & Madan Biswal [b] Abstract Although there is an extensive research examining the mainstream tradition of ritual performance in India, the non-literate tradition is still mostly an explored area. Dandanata is mostly prevalent in rural pockets of Puri, Ganjam, Bolangir, Boudh, Sonepur, Sambalpur, Phulbani and Dhenkanal districts of Odisha. It is a festival that dates back to 4 th century A.D. The rural agricultural communities of Odisha perform Dandanata once in a year starting at the beginning of April (i.e. from pratipada of Chaitra) for over a period of 13 th days or somewhere it is 21 days ordeal that culminates on the day of MahavisuvaSankrantilocally called as panasankranti. The performance Dandanataconsists of Dhuli(Sand) danda, Pani (water) danda, Agni (fire) danda and Theatrical performance.a typical village life is full blown in the Dhulidanda and Theatrical performance of Suanga (dual) danda. It visualizes the duty (work), rest, recreation and other day to day happening of family. The paper tries to visualize the life of village from an anthropological understanding. Keywords: Dandanata, Performing Art, Socio-cultural, Prank, Mythical, Historical, Spectator [a] Minaketan Bag Asst. Professor, Department of Anthropology, Sambalpur University, Odisha bag.minaanth@gmail.com Mob: [b] Madan Biswal Asst. Professor,Master of Social Work, Sambalpur University, Odisha madanbiswal@gmail.com Mob: Introduction The two terms religion and culture go side by side and are used very frequently in social science. However it is not easy to give an unambiguous definition of culture, a term that usually covers notions such as tradition, cultural heritage or custom. It is also equally difficult to understand whether an action is religious or not. Without recourse to the self-understanding of a religion s adherents and the recognition of this self-understanding by the historical and social surroundings, it is usually impossible to decide whether actions are religious or not. (Zinser: 1997:162). It can be understood only in the context of the people. The use of music in religious rituals and practices is an age old tradition of Odisha. Music is certainly a medium which can comment the sense of belonging to a community, and it can be put to serve the causes of nationalists and other power-holders (Stokes 1994) but it also opens up a quintessential field of human creativity for anthropological comparison (Hann: 2003: 234).The importance of music has been described by many anthropologists. Music can be described as a universal code; a system of signs that can be decoded in reference to its social context (Blacking 1973: XIX).Music can thus be understood as a total cultural language (Feld / Fox 1994: 25 53) that seeks to express something where words end. According to the definition of Arthur Simon Music is a universal human phenomenon which incorporates song, play of musical instruments and rhythmic body touch. Music is a sonic order which as a cultural phenomenon must be approached in relation to aesthetic, communicative, social, psychological and religious culture-specific categories (Simon 2000: ) Odisha is famous for its rich musical heritage. The people of the locality consider a major cultural factor, expressing and transmitting a consciousness of a strong regional and cultural identity. The art form of the people is linked to the worship of local gods and goddesses as well as to life and death rituals like marriages and commemoration ceremonies. Local dance and drama traditions restage a divine play on earth, where the scene is manifested in and mediated through the body of the human artist, while the sounds of musical instruments represent local notions of the utterances of different goddesses. In the context of the music of western OdishaMcLuhan says in the Bora Sambar region music indeed operates simultaneously as medium and messages (McLuhan 1994). The art form of western Odisha is not only a representation of the religious activities but also it is a clear reflection of the social and cultural life of the people. Music being an inseparable part of Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.1

2 the life of the people expresses the social phenomena, caste hierarchy and the culture of the people. Lidia Guzywho has done an extensive research on the musical culture of the Borasambar area of Western Odisha highlights in her book Marginalized Music about the complex interrelations between music and the socio-cultural hierarchy of the caste system. She says certain musical activities are restricted to members of marginalized castes and associates with the polyvalent stigma of untouchability and pollution. (Lidia Guzy 2011). Dandanata is a performing art that can be described as a compilation of Music, sound, body movement, dance, songs, dialogue and performance.the dialogues are expressed through songs and we find less of speeches. It is a crucial and powerful cultural mechanism of creating meaning and transmitting local values.though no written text of Dandanata is found, it has been transmitted from generation to generation through language expressing the social structure, religious belief, and environmental issues and cultural life of the people of Odisha. It is an art form that marks the personal, cultural, social, political and ethnic identity of the people of Odisha. Dandanata can be described as an art form that transmits values, ideals, and models of behavior. The personal and collective crisis performed in Dandanata leading to reintegration set an example for the people. The concern of the people for their village and its surroundings represents the social responsibility of the people. The rural agricultural communities of Western Orissa perform Dandanata once in a year starting at the beginning of April (i.e. from pratipada of Chaitra) for over a period of 13 th days or somewhere it is 21 days ordeal that culminates on the day of MahavisuvaSankranti locally called as panasankranti. The forms of Dandanata consist of four district elements of which three seems to be more devotional by nature and the other one fits into the notions of dramatic performance. The each devotional segments involving in focal points such as Dhuli (soil) danda, Pani (water)danda andagni (fire) danda. The last Non- devotional elements of this festival the dandasuangas resembles what we would normally as theatrical perform It consists of short sequence that represent a mixture of sports, military drill, yoga, fertility rites, sacred dramas, divine procession, dance and other form of cultural performance, physical exercise, pranks, ritualized, sequence are combined with one another to form a fluid, sometimes, ambiguous, but a perfectly dynamic structure. The rural agricultural communities of Orissa perform Dandanata once in a year starting at the beginning of April (i.e. from pratipada of Chaitra) for over a period of 13 th days or somewhere it is 21 days ordeal that culminates on the day of MahavisuvaSankranti locally called as panasankranti. There is no restriction of caste in performing Dandanata but generally the people belong to so called low ranking society are participated. There are thirteen danduas called as bhoktas perform Dandanata. They strictly follow the principles of Dandanata. According to danduasthere is no restriction for the women to participate in Dandanatabut during field work no women participant is found. The female characters are performed by male danduas using female costume like women dressing pattern. The forms of Dandanata consist of four district elements of which three seems to be more devotional by nature and the other one fits into the notions of dramatic performance. The each devotional segments involving in focal points such as Dhuli (soil) danda, Pani (water)danda (water) and Agni (fire) danda. The last Non- devotional elements of this festival the dandasuangas resembles what we would normally as theatrical perform Dhulidanda is performed in the afternoon on the hot ground under son of April. It consists of short sequence that represent a mixture of sports, military drill, yoga, fertility rites, sacred dramas, divine procession, dance and other form of cultural performance, physical exercise, pranks, ritualized, sequence are combined with one another to form a fluid, sometimes, ambiguous, but a perfectly dynamic structure. After Dhulidanda is over, the danduas proceed to the pond where they perform panidanda, Panidanda consists of acrobatic feats in water including somersaults form a different heights and pyramidal formations. The third phase is called Agnidanda. The scared fire is ignited by rubbing wood or by hanging bihanberia (made on paddy sheves). Two danduas dance by holding dandas and return back to their camp to have their only meal of theday. All these are perform quite religiously uttering special invocations to Agni (the fire God) Durga and Kali. After taking meals the danduas come to the village for the night theoretical performance by playing musical instruments. Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.2

3 2. The Sample Area The villagessaharipali, Kapasira and Bousuni are selected as sample area. The village Saharipali and Kapasira come under Ulunda blockof Sonepur district. The village is approximately 10 kilometer from district headquarter. And the village Bousuni is approximately 10 kilometer away from block headquarters Binika. Sonepur district was part of Bolangir district till the end of 1993 and thereafter result of bifurcation of Bolangir district vide state Govt. notification No. DRC 44 / 93 / / R dated it formed a separate district known as Sonepur. 3. Objective ofthe Study 1) To find out the socio-religious significance of the origin of Dandanata 2) To understand the artistic forms and performances of Dandanata 3) To explore and analyze the representation of social, religious and cultural life of the people of Western Odisha through Dandanata 4. Methods of Data Collection Since no printed text ofdandanatais available, this research work is based on extensive field study and personal interviews with performers and old timers. Regarding the various aspects of Dandanata, observation, case study, audio recording of song and dialogues and their documentation and photographic documentation of rituals and theatrical performance are adopted. Focused group discussions are conducted in order to collect information on certain selected aspects related to their everyday experiences. Relevant secondary data wherever available are used for supplementing the analysis 5. THE SIGINIFICANCE OF THE ORIGIN OF DANDANATA The origin of Dandanata remains obscure on account of the unavailability of authentic source and no written documents. It has been orally passing down from one generation to generation. It is difficult for a researcher to trace out the origin of Dandanata. However during the study two sources of beliefs to supplement the origin of Dandanata are found. One is the historical belief and the other is the traditional or mythical belief which is handed down from generation to generation The significance of the Mythical Origin of Dandanata The danduas express different mythical views regarding the origin of Dandanataduring the study.once upona time in Satya Yuga, five sons of Brahma, three sons of Kubera and five sons of Indra saw the sage Katru in deep meditation and put mud, sand and other things on his body for which the sage was perturbed. The sage cursed that the persons who disturbed him will suffer from leprosy. In order to get relief from imprecate they worshiped Lord Shiva near the shore of holy river Ganga observing self-punishments in the form of dance and songs. People believe that this took the shape of Dandanata in later part and the thirteen sons of Indra, Kubera and Brahma are known as Bhoktas in Dandanata. The Odiya word dandameans also punishment and Dandanata is performed in the form of dance and song. According to another myth a child of lower caste was working under a Bramhin teacher. The teacher had some Bramhin disciples who were practicing sadhana under his able guidance. The boy of lesser origin used to witness the practice session carefully at his leisure and in course of time he developed a great interest and knowledge on meditation. Since he was not a Bramhin by caste, the teacher did not accept him as a disciple. However the child did not lose his heart and started practising yoga of his own whenever he got time. One day early in the morning, he was in deep meditation and forgot to sweep the house. When the teacher and disciple arrived there they found the house unclean and dirty and discovered him in meditation. As a result the teacher got angry and beat him mercilessly. The small child uttered some mantras which almost burnt the body of teacher. In the meantime the disciples came to his rescue and saved the teacher. However, it was a matter of great surprise for all of them. They could not understand how a child of lesser origin could learn such a wonderful charm. They took away that knowledge forcibly from the child and concealed it in the cave of Kailash( where lord Shiva is believed to stay). Lord Shiva came to know about it and ordered his Nandi to release the knowledge from the cave for the people of lower castes. Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.3

4 5.2. The Historical significance of the origin of Dandanata Though the historical origin is not properly substantiated with the historical facts, attempts have been made to establish a link with history. According to Oral history the origin of Dandanata dates back to the Keshari dynasty in Eastern Odisha and Somagupta dynasty in Western Odisha. The Keshari dynasty ruled over Eastern Odisha from Bhubaneswar during 5th- 11 th century AD. The dynasty was the great worshipper of Lord Shiva. Due to royal patronage and protection Shaivismspread to other parts and became a dominant religious cult of Odisha and created a sense of hate towards the Buddhistswho were degraded to the status of untouchable. The Buddhists had no other way but to worship the Hindu God Shiva for their salvation. But they were strictly prohibited from entering into the Hindu temples. Gradually these people started worshipping LordShiva once in a year in the form of Dandanata(Das 1993: 66). The second historical belief regarding the origin of dandananta can be traced back to the Somagupta dynasty of Odisha.Boudh and Sonepur districts of Western Odishaare regarded as the cradle place of Dandanatawhere once upon a time Buddhism flourished in larger extent(senapati and Manashi1971: 49, 110). Buddhism rejected caste system and social hierarchy based on birth and was opposed to Brahminical orthodoxy by denying the authority of Vedas. These factors might have adversely affected Hinduism and largely appealed to the socially down trodden people likesudras, untouchables and tribals who had been oppressed for centuries (Thapper, 1977). Thus Buddhism provided an opportunity for the low caste and tribals upgrade their status by joining Buddhism. Buddhism grew to such an extent that the orthodox Brahmin and ruling class became perplexed. In a view to check the growth of Buddhism, several efforts were probably made during time insonepur and Boudhareas. The local Hindu rulers of Somagupta dynasty being the patrons of Shaiva cult were eager to spread Shaivism.Perhaps an alternative but socially more desirable and acceptable strategy to promote Shaivism without allowing further expansion of Buddhism in the area was to make compromise at the folk level. It was perhaps during these phase of religious revivalism in Odishathe constant interaction between cultural elements of Hinduism and Buddhism had occurred at the folk level and the downward movement of cultural element of both these great traditions and their integration with little traditions might have taken the shape of Dandanata. So Dandanata can be described as an interesting way of assimilation of Hinduism and Buddhism. The research has a limitation to substantiate mythological evidences and historical facts to prove the beliefs of the people of study area regarding the origin of Dandanata notwithstanding its socio-cultural relevance. The mythical and historical origin of Dandanata clearly reflects the institutionalisedsocial hierarchy, brahmanical domination and oppression of the lower caste people in the society. Thousands of years have passed since the origin of Dandanata, uncountable performances of Dandanatamust have been taken place generation after generation. In course of time, Odisha has moved from the agrarian society to the knowledge society the industrialisation and has witnessed many changes but still there is no substantial change in the social status and position of the lower caste people. Notably, even today Dandanata is performed mainly by the lower caste people in Odisha. They are still in a vulnerable and marginalized position in spite of various legal provisions and constitutional safeguards guaranteed to them in the post-independence India. The evilpractice of untouchabilityis still prevalent in some parts though it is prohibited and punishable under Article-17 of Indian Constitution. The restriction over the village temple, separate bathing ghats in the village pond, separate place for the children in school are not uncommon even after 65 years of independence. A contradictory analysis of the origin of Dandanata may describe it as a strong reaction against the Brahminical domination and at the same time as a diplomatic move by the dominant Bramhinsto maintain their supremacy in the society and an appeasement to maintain their status quo as well as the traditional social hierarchy. 6. The performances Dandanata is performed through four phases in a day. It begins with DhuliDanda and ends with theatrical performance and Panidanda and Agnidanda are performed in between.after Dhulidanda is over the danduas proceed to the pond, where they perform panidanda. Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.4

5 6.1. Panidanda Panidanda consists of acrobatic feats in water including somersault from different heights and pyramidal formations.after reaching at the pond first they finish their daily work, they brush their teeth with sixth fingers (four to five inches) long mango bough, which protect mouth from different germ and bad smell. Then the bhoktas take their bath in the pond and cool their bodies, which was hot at the time of DhuliDanda. The bhoktas take 13dips in the pond and collect 13 handful of sand and make shivalinga at the shore. Near the Linga they placed the prava. The priest starts to worship both Shiva and Kali. The musician beat music in different rhythm. The patabhotas began swing and dace with the step of music. The people belief that goddess comes to him. The priest worship danda and placed on a pindha(made on wood). Then they ignite the dandas by hanging bihanberia (made on paddy sheaves).by putting Jhuna(resin) they return to the camp. At the camp two danduas hold dandas and dance with the rhythm of music which is very intoxicating to see. In the middle of the dance they put Jhuna (resin) on the danda. At that time the flame of Danda was so lighted. However in many places the panidanda phase is now a days omitted. After performing panidanda the danduas take pana (liquid of fried paddy). Then they start to cook rice for them. Which contain Aruarice (unboiled rice), Akata vegetable ( vegitable not cut) and without oil and stuff. Then they eat at midnight Agnidand The third phase of DandaNata is Agni Danda, which start before or after taking dinner. It varies from place to place. The sacred fire ignite by rubbing bamboo wood or hanging bihanberia (made on paddy sheaves). Two danduasdance by holding dandasin their both hands. Some time they dance in sitting position and sometime in standing position according to the rhythem of music. In the middle of dance, they hold the dandain one hand and put some Jhuna (resin) on the dandas in such a position that the flame of danda ablaze. At that time the other Bhoktas utter Kala Rudramanikibhajahei (worship the lord Shiva) in a high voice. That dance is believed as the TandavaNrutya of lord Shiva. By following that procedure they come to worshipper house Dhulidanda Dhulidanda is performed in the afternoon usually in the middle of the village. It continues for around two hours and thirteen Bhoktasparticipate in it. It is humorous which provides full entertainment to the audience with social and cultural elements inherently present in it. The researchers have called it as the Prank.The expressive acts of danduas are carried out in a solemn mood and under the supervision of priestly assistants; one known as the PataDandua(Main Priest) and the other his assistant. Moreover these pranks are performed strictly by the danduaswith the indication of their priestly assistants. These danduas play the role of women and hence they are dressed as women with all the expertise and props of female dressing necessary to make their disguise impressive and credible. Danduas do not have any text to recite apart from yes or no in response to priestly admonishments. They are short of mute actors, atrait in their character which is emphasized by the fact that in many sequence they hold a straw in their mouth, the function of which is explicitly connected with danduas obligation to remain silent. There is no written text to rehearse the dialogue.but there is a lot of improvisation and it is this on the spot alterations, embellishment and spontaneous inspirations by the actors. Two aspects that are common to all the pranks are; there are usually two actors opposing and dialoguing with each other and these two stand in a hierarchical relationship. The pranks can be categorized into five different kinds. the well prank the weaving prank the ploughing prank the prank relating to farmer and his wife the temple prank Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.5

6 The Road leveled Pranks The RoadLevelled Prankdescribes the village road and the beliefs associated with it.in this Prank the priest or his assistant first directs how to level the road for good communication. A dandua answers we shall level the road by bulldozer then a dandua lies on the road and two danduas push him slowly. So like a bulldozer he rolls on the ground and when the leveling work is going on the roller meets a khunt (Pillar) on the way. The role of Khunt (Pillar) is also performed by another dandua.the danduaswant to rootit out so that the road can be levelled properly but suddenly it gets thrilled and tells I am goddess Kali, you cannot rout out me. The danduas request goddess kali to be kind enough and go out so that they can level the road. The goddess agrees to that but asks for a male goat sacrifice. The danduas offer a male goat and level the road TheWell Prank Several danduas indicated by the assistant of the priestsit in a circular manner to take decision to dig a well. In the meeting several questions are raised such as where and how to build the well and who will be the right and first person to take water from the well. In one place the servant is complaining about being exploited until a village head joins into settle their dispute. In this prank the bhoktasdiscussdifferent problems surrounded with making well and drawing water from well.selection of spot indicates regarding the convenience of all inhabitants of villagers whereas drawing water from the well indicates the prevalence of social hierarchy in the society. Again all the disputes are solved by the village headman rather by the police. It also indicates the prevalence importance of hierarchical society The Weaving Prank The danduas form a weaving loom and two /three priestly actors miming priests argue about the proper way of weaving. The Danduas perform the act of weaving and when the weaving is completed, the cloth is taken of the hands and shoulder of the danduasand measured by the priest who uses a stick to measure as if it were a yard stick. Then a dispute arises about the price of the cloth which is meant to have been produced as a gift for Kali. During these weaving pranksa lot of slapstick fist fights as well as comically exaggerated wailing and commenting occur The Ploughing Prank The Ploughing Prank merges seamlessly each and every activity of cultivation. The danduas perform a ploughing act in an agricultural field all of them acting as the field, the plough man and the bullocks. Then there is an act on the quarrel between two farmers regarding the quality and price of one of a bullock. There is some haggling regarding the question of how to raise the money for this bullock at there a mock puja is conducted in present of bullocks as it was a sacred cow or some other deity. Furthermore, while ploughing the servant suddenly break down, as if overcome by heat, water is poured out over him until he is revived. Then the ploughing continues until the bullocks full of sweat and dust, rejoin their colleagues. While the field danduas remain lying on the ground. In those groups with a more knowledgeable priest, songs depicting the time of the monsoon are sung and the episode in which Rama, Sita and Laxamanleave the royal capital of Ayodhya for their forest exile is recited. The ploughing prank continues until the farmer and his wife out in the fields. Immediately after bullocks leave the field, some four or five women enter into the pendal. One of them is carrying basket on her head containing food, another brass vessel with water. They enter the stage in a single file. They circumambulate the fields several times by singing song accompanied with the music. Their way of walking is dance like and changed from time to time according musical rhythm. Then a longer episode begins. The women that are the wife, sister in law and wife of neighbour s farmer, leave their houses in order to meet the farmers in the field at lunch time. At the beginning one woman does not see her husband in field and she asks another farmer of neighboring field. As a custom of rural Odisha, a wife cannot speak the name of her husband but enquires about him by mentioning amarsemane (my Husband). Finally she finds her husband sleeping under the shade of a tree. He is rudely woken of by sprinkle of water in his face. While he wakes up shakily and sleepily, his wife scolds him for his laziness, until he becomes alert to the occasion and angrily asks why she had come. After this little domestic dispute some conciliatory gesture and word replace the angry one. Wife asks why you are angry with me. I have brought some tasty curry for you. There is a further teasing between husband and wife in which the other woman, especially the sister in law take part. The wife then tries to persuade her husband to take some food, but he only starts to eat after Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.6

7 some further teasing, urging and even forced feeding. In the accompany song and the play itself are slightly sexually illusive scenes. Finally the husband promises to take his wife on a shopping trip into town once the period of sowing and planting is over. Following this, the women help him with the farming work, weeding, ploughing, sowing and replanting the rice seedling The Temple Prank The Brahmin and the priestly assistant raise the question of building a temple for worshipping Lord Shiva, which material should be use, what would be the entire cost and how long it would take to build. The danduas perform an act of building a temple some of them acting as the temple itself. When the temple is completed, twoprotagonists have an argument about how to consecrate it and conduct the daily puja, so as to get the maximum amount of money out of the devotees with minimum amount of work. The various mocking scenes of this prank show the priests in a rather undignified light pulling each other s ears, slapping their cheeks and having fist fight. During their subordinate mimes cleaning his behind with consecrated temple water or when he tells the Brahman to eat his stools because he is so mean. There are further rather blasphemous scenes depicting. All the pranks discussed so far represent social dramas in sense evoked by Turner (1982). However their social dramas which have found their way back on the stage and which are thus dramas in the proper theatrical senses, not just in the metaphorical sense of the term. Thus various disputes which the audiences encounter are highly stylized. In them, I was assured, there are no concrete hints at actual members or events with respect to the village in which they are played. However, some spectators may come to associate the one or the other enacted dispute with persons or events from his or her neighborhood, for at least a stock types, these theatrical disputes and the characters being mocked in them are well known to everyone from village life. Ultimately, then the audience is provided with a satirical mirror reflection of their own everybody lives. The pranks are comically exaggerated stories people tell themselves about themselves, to quote Geettz s famous prose (Hasan:1970). The Pranks are a depiction of the village life with all its scenic beauty and ugliness as perceived by the viewers. The typical village surroundings along with simple things like road, well, temple, Dhuli (sand), agricultural field etc. are represented in these Pranks. The themes of the Pranks center around the leveling off a road for better communication, the discussion for the construction of a well for drinking water, the construction of a village temple and the subsequent fight among the priests to be the worshiper of that temple, some sweet fights and romance between a husband and his wife during agricultural activities etc. These things may appear unimportant and valueless to an outsider but these are an integral part of and have a strong meaning in the socio-cultural life of the village people of western Odisha. The Pranks not only give a visual representation of these things but also the common problems of the village, benefits of common resources, the social relationships and bonding among the village people, the beliefs and practices of worshipping gods ad goddess and the mutual love, affection and interdependence between the husband and the wife are nicely presented mostly in comic form which is both entertaining and enlightening for the spectators. 7. The Atrical Performance There are two types of theatrical performance in Dandanata i.e. Suangadanda and Leeladanda. During research it is seenthat the people of Binika block of Sonepur district celebrateleeladandawhereas the Ulunda block performssuangasdanda. However there is common performance in both the dandas known as Pravanritya. Prava is worshipped as the incarnation of goddess Kali, which means ablaze. This dance is performed by patabhoktas as per the rhythm of music. It continues more than twenty minutes. A semicircular red cloth cut in the shape of nimbus made of bamboo decorated and tied with the back of pata-bhoktas. The character prava enters the stage only during the ritualistic period of 13 th days of Dandanata. Prava is ordinarilya solo character in Dandanatabut there seems to have been variations. This is also known as Tandavanritya of Lord Shiva. The patabhoktaperforms dance with different postures of his limb in tune with the Sohalakhadi (sixteen beats) music, played by dhulia(dhol player). The dhulia really plays an important role. The performance of dancer is beautiful and enchanting. Sometimes the dancer holds the holy lamp and the other danduas putjhuna on the burning lamp to abalaze. The other danduas utter Kala Rudramaniki Jai. Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.7

8 The word Suanga corresponds to the Sanskrit swang which means graceful acting. Dance is always based on music. Any dramatic performance consisting of dance and music therefore is known as Suangas in Odiya language. In Dandanata like any oldest suanga, every character enters to the pendal by dancing with the rhythm of music and gives his self-introduction with a short description of what the character is wearing or supposed to wear, gait and make up. In between dialogues, both the speaker and the listening character dance vigorously. This pattern is a regular feature in every sequence of the DandaNata which distinguishes its identity from other type of performing arts. The actors of suangas express their acting through songs. When the actors sing, the musician play dhol (drum) in low sound. At the last part of the song the sound of dhol(drum) began to high and the actor s dance with the step of rhythm of the dhol Siva-Parvati Nandi is an essential character of Dandanata. He is called as gate keeper or messenger of Siva. He informs to the audience of the arrival of Siva-Parvati and prays to Siva for the goodness of audience. The Dhulia (player of drum) welcomes to Siva and Pravati from the decoration room. The audience waits to listen the conservation of Shiva and Parvati. Here both the characters act like worldly character. Siva enter to stage by holding Trisula (Trisula) whereasparvati only a handkerchief. They dance with the step of rhythm of dholafter sung song. They express the past-future and the sequence of Dandanata in the form of poetry. Tradition of dandanata relates to the worship of siva and parvati. It is said that Brahma, Vishnu and Shiva are the gods of Sristi (creation), Sthiti(existence) and pralaya (destruction) respectively. In order to avoid pralaya Siva or Mahesvara is worshipped. To quiet him hard meditation is required, dandanata is another form of hard meditation. It is also reported that dandanata is the synonym of shakti puja which is worship of energy and strength. However, Siva is invoked like this. Shiva Kailasubahara Hara basibrusavapithira Shire jataorddhashashisajehei, Bhaktamanankaradukhadhyanejani Asitankapasehelebijehei. Meaning: God Shivawent out from the KailashaMountain by sitting on brusabha (bullock). At that time jata(malted locks of ascetics) and half circle moon look very beautiful on his head. After knowing the unhappiness of devotees and he arrived near them. Parvati: Baharileheimabati se dukheati Kahigalepasupati se dukheati, Karamalikhanamorakedehina Pranapatihelejati, se dukheati, Tejialonkara, hrudeastihara, Sangebolilebibhuti, se dukheati, Basuabalada, bahanasampada, Smasanebulantirati, se dukheati. Meaning:Parvati went out with sorrowfully and blamed to luck because her husband became jati (sage). He wears astihara (garland of bones) smear bibhuti(ashes) on the body and wondering at the cemetery on basua bullock at night. It may be noted here that in Dandanata the character themselves give their own identities on the pendal perhaps for the convenience of general audience which constitute mostly illiterate, ignorant, simple, lower caste/class people in a rural area. For instance, when Siva comes to the stage he sings. All the characters in Dandanata have the element of the common people of the region. As a result, one can easily get the replicas of the different aspect of the life style of the people. They are so life-like that one can see himself in these characters. This is why, folk play is considered to be the mirror of the society, where social behaviour, prevalent tradition, faith, daily life, emotional relationship, gods and Goddesses, pattern of thought, dress, ornamentand behaviour etc. are all expressed and bloomed through the local language and dialect for common entertainment. Here Parvatiasks different questions regarding dandayatra, and Siva answers them. All the conservation between Shiva and Parvati occur in the form of poetry in local dialect. Parvati: Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.8

9 ShunaAhePraneswara KimpaTumbheKailashapurahie Asibhramanakaraethorahie Shiva: ShunaGaurisadhire Bhaktajanachintakarantikhare Ambheasichhudandajatare, Gouri go. Parvati: Ahie deva pasupati Dandajata ate kemantaritihie. Tahasunibakumoramati, Shankarahie. Shiva: Bhuja sati ebeeha Chadeiyanisangadharichadeiya go Nrutyagatireasibachanha, Gouri go. Parvati: Ahe deva suladhari Chadeiyatumarbhaktakiparihei Kahasansayajau mohair, sankarahei. Meaning O husband: why are you moving here by leaving Kailashapura.Shiva answered suddenly the devotee meditate so that I have to come here. Again Parvati wanted to know about danda and how chadeiya became his devotee. All question of Parvatiare answered by Shiva one by one. Again the character of Ganesh is very impressive because it is depicted in a very cosmic style. Ganesh represents a small child and so many things of eventful childhood lives are expressed through it. For instance Ma go ma, ma go ma, Du dudeija mote. Here Ganesh is a little child and feeling hungry. He requests his mother Parvatito give him breast milk, which is genuine image of a child in our social life ChadeiyaChadeiyani Chadeiya and chadeiyani live in the forest. They manage their livelihood by catching bird using snare. The snareis given by Lord Shiva and Goddess Parvati with a restriction that the chadeiya should not catch the birds namely pigeon, peacock, parrot and cuckoo. If he catches, he will die. But the Chadeiyaforgets the restriction and dishonors Lord Shiva again and again. Lord Shiva and Parvati become angry and make him die by snake-biting. Chadeiyani looks for her husband as chadeiya does not return to the hut and finds him dead in the forest. She goes on crying for long hour and prays to VanaDurga. VanaDurgapleased by the prayer of Chadeyani appeals Lord Shiva and Parvati. Shiva and Parvatirelent and send Dhanwantari(the physician of Gods). Dhanwantari comes in the form of snake charmerand makes the Chadeyaalive. The episode has also the romance between husband and wife. At one point of the act after returning from the jungle by catching birds the Chadeiyasays: Barajakshihemajema Mora Kula Chandarma, asaasa re tora, kinikini nada moraamaraousodha, asaasare. The Chadeiya says: Hey!The daughter of Barajakshi, The moon of my dynasty Come, Please come. The sound of your Bengal is my immortal medicine. Come, Please come When Chadeiyani does not reply tochadeiya, he agai calls loudly Kamarabadha share sadhi Manichandrapua die radi Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.9

10 morachadeiyani, asachanchaledaudi kanjanakshi Chandra-muhi rakhamojibanaheipranasahi jibajibana lo to binabanchibinahi gatahelasadamasa banasteasilipakshimarita bhajane, sapaneachhusapanemorapasa. Here Chadeiya is seen as mad in love, he tells I am shouting because I am affected with cupid arrow, my dearchadeiyani please come quickly, O quick eyed I can t live without you. This part of this suanga is show the erotic sentiment of the character. T here is a quarrel between the Chaideya and the Chadeiyaniwhen chadiyani complains regarding the poor condition of house, shortage of daily needs to maintain a family. This is a clear reflection of their acute poverty and poor living conditions. But after a while the quarrel ends with a happy settlement and the Chaideya again prepares himself to go to the jungle to catch birds. The chadeiyani reminds him about the promise they made to Lord Shiva and Parvati Chadeiyani says: Mo ranasunaseinatha Kebenamaribaehipakshita Siva pasekarichhaheisapatha But the Chadeiya become perplexed by the nature, and kill a peacock, for which Shiva and Parvatimake him die by biting snake. When the Chadeiya does not return to his hut in the evening, Chadeiyani looks for her husband and finds him in dead in the jungle. She cries and cries at last she prays to VanaDurga. VanaDurga become pleased and appeals to Shiva and Parvati. Shiva and Parvati relent and send Dhanwantari, the physician of Gods. Dhanwantaricome in the form of a snake charmer and makes him alive. The Chadeiya earns his livelihood by catching birds and selling them in the nearby villages with a vow not to kill certain types of birds likethe peacock and the cuckoo. This denotes maintaining a balance between one s livelihood and the protection of nature. The breaking of the vow leading to the death of Chadeiya can be interpreted as the punishment for the violation of the law of nature. Surprisingly,the birds mentioned in the Chadeiya-Chadeiyani episode of Dandanata are protected today by the environmental laws made by the Government of India. It is also a well-known fact that the protection of nature and environment has arrested worldwide attention in the era of globalization. The mournful cry and prayer for VanaDurga to save the life of her husband shows the love and commitment of Chadeyani to her husband. The role of a wife has been idealized and prioritized with the climax of the Chadeiya becoming alive after the prayer of Chadeiyani. The same thematic description is also found in Hindu Mythological story of Sabitri-Satyaban where Sabitri is able to bring her husband back from Yama (the god of Death) through her devotion and intelligence. The women of contemporary Odisha also observe a fast on the day of SabitriAmabasyapraying for the safe long life of their husband, the religious practice popularly known as Sabitribrata. In the story of Chediya and Chediyani, the wife is seen as the savior of the husband. The power of a woman to save the life of her husband challenges the stereotype belief that women are weak, powerless and less intelligent, thus clearly reflecting the feministic ideological thoughts KelaKeluni (Snake charmer & his wife) kela keluni are great devotees of Lord Siva. They are sent by Lord Shiva to save the life of Chadeiya. The Kela brings variety of snakes in the basket with him. With the blessing of Lord Shiva he has acquired the knowledge to cure a patient from snake bite and give him back to alive. Again he was acquired the knowledge of stambhana (Benumbing), Mohana (causing of delusion), Basya (subdue), Uchchatana(uprooting), Marana (killing), Tarana (saving), Akarsana (attracting), Udanda(Flying) and such other black magic. He plays a wind instrument which is locally called as Nageswar. Sapta-swara (seven sounds) bring out from the Nageswar. He also plays a small drum called as dambru. The Kela singsself-introductory song, invocatory songs, songs relating to snake, padmatola (song relating Lord Krishna plucking of lotus from the lake Kalindi), song relating to places, mountains, rivers, states, as well as the snake bite cure mantras. Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.10

11 In the form of song he shows his present by the order of Shiva and Parvati. If he recognizes any snake then he shall take. Bisa to bias kalinagabisa abisaku kale iswaragrasa sarpaaditahubhakshilelesa jhadabisajhada najhaduboilekaharaagyna iswaraparvatinkarakotikotiagyna. Among the poison the black cobra is so poisoneous. That poison wasdrunk by Shiva and a small particle of poison ate by the snake. So the Kela sing that the poison come out from the patient according to the order of Shiva and Parvati. Hara parvatinkahukumahoila uthoreghaudacetho Kabichandra bole chadeiyauthila Nasa gala tarakasta. Shiva-Parvati ordered to get up the Chadeiya. The injury ofchadeiya also became removed. Kela had also a consort called Keluni who does tattoos and sing song relating to it. Again a quarrel is started between them and solved with compromise. The snake bite and the episode of Kela- Keluniremind the spectators about the incidents of snakebite in their own locality. The people of the study area reported that snake-bite is not uncommon in their area and the same practice of inviting a snake charmer after the snake bite is also found in the study area in the contemporary society. The people of the sample area believe more in the treatment of the snake charmer than in the medical treatment. Some respondents also report that in their locality there are some snakecharmerswho can suck the poison from the body of the person through their mouth. The treatment given by the snake charge is free as it is also believed that when a snake charmer charges money or anything else for the treatment, his magical treatment works no more and it also brings a bad reputation for him. This phenomenon of the snake bite and the treatment of the snake charmer is an integral part of the socio-cultural life of the people in the study area Jogi-Jogiani The person who keeps a vigilant watch todanda at the kamanagriha (house of desire) is called as jogi.theword jogidenotes to a person who is totally detached from the worldly life. The basic objective of a Jogi is to get salvation through devotion and worship. But there is a deviation in the character of jogi in Dandanata as he is not detached from the worldly life The jogi of dandanta wondersfrom place to place all day long andcomes home in the evening. He orders his wife to serve him food. The wife is displeased with him and replies that he may cook himself and eat. As a result quarrel starts between them.in the same suangas a group of joys enter the arena together exposes their identities and speaks about their adoption of begging due to their laziness. It is not the detachment to worldly affairs and faith in God but their laziness to work for food which had made them to put agarb of fake Jogis. The sequence turns to be a satire. Recognizing the voice of her husband Joginitells; A atiekantamohara lo mausa Aatiekantamohara Tundbarikarijanidelini Chalititankarkhara. Meaning: It is my husband, I knew after listening to his voice. His style of walking is quick. Again it is seen that though he is a Jogi still he is not free from worldly life and he falls in love with a lady and asking her where are you staying and where have you seen me that you are telling me husband. Jogi: keondeshare to ghara lo sajani Keondeshara to ghara Keonthare mote dekhinathilu Boluchhugerasthamora. Again polygamy is seen in the character of Jogiin Dandanata. Lastly he agreed to turn and marry her. Tumbha bola nische kali sabhajane Tumbha bola nische kali Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.11

12 Jogibeshatezisanjogihesi Hatadharikarineli. Not only in Odisha but also in other corners of the country we do find the yogis who are supposed to refrain themselves from a common man s emotions of lust, greed, anger, envy, vanity, fear, revenge etc. He is expected to beliving by begging above all these emotions detached from the worldly life. The characterization of Yogi-Yogiani episode in Dandanata is satirical as the Yogi is found to have all worldly activities that a common man does. He does no work and his wife is displeased. This is a criticism to the laziness of the yogis. Begging has been condemned and understood as an evil practice and hence every man must work is probably the message of this episode for the onlookers of Dandanata. 8. Conclusion Dandanata is a first vanishing performing art; it is unique as it involves dance, drama, music and sociology in a perfect blend, displays an unbounded creative energy that continues to be a vital force even today in a global perspective.dandanata is a kind of brata or osain which the participant (danduas) observe strict discipline. This is always preceded by a vow made to acknowledge a wish already fulfilled or to get rid of a misfortune or disease suffered by any member of the danduas family or expecting a wish to be fulfilled in future often birth of son. Apart from this spiritual reason, participation in dandanata is considered to be a religious or spiritual act. Danduas participate in it out of their devotion to Lord Shiva or Goddess Kali. Thus, the primary motives for one s participation is said to be removal of sin and attainment of liberation, fulfilment of desire in life here or here after.all those physical exercise, no matter whether of the expressive or of the pure and simple kind take place under the hot sun on hot ground for a period of two hours and more putting great strain on the energy and physique of the participants. Forthese reasonsit is alsocounted as punishment. The close physical contact between the danduas that is required in performing these exercises can be seen as an expression of the egalitarian ethos of the dance. Within the community of performing danduas, notions of purity stemming from caste distinctions are extinguished. However, with regard to persons, animals, food and things (such as friends, dogs, meat, modern thing), the need to avoid them and even the danger of becoming polluted by them, have increased. Againdandanata is more a social messenger than a source of entertainment. In Odisha, It is perhaps the only form of performing art that is deliberately performed and participated by different communities. Though most participants are usually from a low ranking caste, their social background has no meaning as there is no caste or class among the danduasduring the dandanata. This egalitarian character of dandanata is also expressed quite over by the fact that all danduas dress in the same way, undergo the some penances and observe the same restrictions. That is perhaps the reason, why people, even historians believe that it originated post Buddha to counter his spread. Dandanata is a secular institution having egalitarian ethos with traces of anti-caste and anti-brahmanism conducted by member of subaltern group. The sixteen dual characters of dandanatareflect the different issues of day to day happenings of family life including love, affection, sentiment, union and separation. The social life of the village surrounding with its scenic beauty and the day to day happenings find its place in the theme of Dandanata which increases its social relevance. The spectators can watch themselves and their life events through the act of Danduas. The Chadeiya, a yogi, Kela or Keluni of Dandanata described in the article may be found in the same village where the act is performed. The different issues reflected in the act during the performance like the construction of a village temple, the levelling of the village roads, the ploughing scene, the dispute between the husband and wife and then again the reunion of the couple are of equal importance of the spectators as they experience it it in their own life. The issue raised in the performance of Dandanata related to the poor communication in the village is still an unsolved problem that exists in many rural pockets of Odisha. The restriction on the Chadeiya not to kill certain kinds of birds and the punishment to him for his act of disobedience can be analysed in the present context of the animal rights and environmental protection as we find many laws and act being passed in the recent past. The emergence of the animal rights activist and their importance being gained in the contemporary society reminds us about the similar issues raised in the Dandanata. The Chadeiya s livelihood of killing birds with some restriction is a strong example of sustainable development; development that fulfils the needs of the present generation leaving a scope to the future Aano bhadraa krathavo yanthu vishwathaha -"Let the noble thoughts come to all from all directions". Page No.12